Polyphony-Without Introduction (1971)

Polyphony is a little-known American band that released only one album, "Without Introduction", now considered one of the gems of 1970s progressive rock. Polyphony was formed in 1971 in Virginia, and their artistic career was short-lived. Comprised of Glen Howard (lead vocals and guitar), Craig Massey (organ and synthesizers), Martin Ruddy (bass and vocals), Christopher Spong (drums), and Chatty Cooper (percussion), they created a solid and flawless work in which the sounds of the Hammond organ fused with guitar in the purest Jimi Hendrix style. That abrasive organ, along with the tremendous feeling of the guitar, and driven by the intense rhythms of the bass and drums, are present in the odyssey that is the dazzling instrumental "Juggernaut", the progressive "Arie's Flight", and the psychedelic "Crimson Dagger", all pieces where we hear echoes of the most symphonic and pretentious Emerson, Lake & Palmer or the most resounding King Crimson. Shortly after its release, the band dissolved without a trace, and their album became one of the most sought-after rarities for collectors. 

Bakerloo-Bakerloo (1969)

Another short-lived, one-album band was Bakerloo, hailing from the British town of Tamworth. Their lineup included guitarist Dave "Clem" Clempson, bassist Terry Pole, and drummer John Hinch. Initially, this power trio was called Bakerloo Blues Line and, as the name suggests, based their style on the blues. However, as time went on, they became more experimental, moving towards progressive blues rock. Thanks to a considerable following and the sponsorship of future Black Sabbath manager Jim Simpson, they gained enough recognition to perform on John Peel's famous BBC Radio 1 show, "Top Gear." Shortly after, John Hinch was replaced by drummer Keith Baker, with whom they recorded their self-titled debut album, released by the prestigious Harvest label in 1969. Although the album received very enthusiastic reviews, it unfortunately had little commercial impact, despite containing genuinely progressive music with blues, jazz, and heavy hard rock sounds. Tracks like the powerful "Big Bear Ffolly," the psychedelic "Last Blues," the epic boogie-rock "Son of Moonshine," the folk-blues foray into Johann Sebastian Bach's classic "Drivin' Bachwards," and the hypnotic blues of the majestic "This Worried Feeling" make it a truly underrated classic of the progressive genre. Shortly after the release of this album, the band would break up when Clempson left to join the jazz rock band Colosseum and later Humble Pie, while Keith Baker would do the same, joining Uriah Heep and Terry Poole the Graham Bond Organisation.

Jim Diamond-Double Crossed (1984)

Jim Diamond became a dazzling star thanks to several of his songs that achieved great commercial and media success in the 1980s. This Scottish singer-songwriter began his career at a young age, leading several local bands in the Glasgow area, such as The Method and Jade, in the 1960s. Jade gained attention after performing in London in 1969. It was then that the legendary bluesman Alexis Korner saw him perform and was pleasantly surprised by his talented voice with its soulful and bluesy undertones. Shortly after, Diamond joined Korner's band, providing backing vocals and recording the album "The Lost Album." After his time with Korner, he formed the group Bandit, which also included future AC/DC bassist Cliff Williams. After releasing the album "Bandit," Diamond disbanded the group and became the vocalist for BACCO, a short-lived Japanese band. The lack of success and limited media attention led him to move to Los Angeles and form a new band called Slick Diamond with guitarist Earl Slick, though they never officially released any material. Finally, in 1981, he achieved success with the trio PhD, comprised of Diamond, drummer Simon Phillips, and keyboardist Tony Hymas, two seasoned musicians with extensive experience playing alongside Jeff Beck, Jack Bruce, Gary Moore, Judas Priest, and Duncan Browne. Diamond's composition "I Won't Let You Down" became one of his most iconic songs and a top-selling single of 1982. However, the band's run was short-lived; shortly after disbanding, Diamond decided to launch his solo career and signed with A&M Records. In 1984, he achieved worldwide success with the acclaimed "I Should Have Known Better," an intense ballad from his debut album, "Double Crossed," which also featured other notable tracks such as "Remember I Love You" and "I Sleep Alone at Night." Several minor hits, like "Hi Ho Silver," and collaborations with musicians such as Tony Banks and Steve Hackett of Genesis, became his most significant contributions. In the following years, Jim Diamond remained largely outside the mainstream charts, despite sporadically releasing a series of albums that went largely unnoticed by the public.

Diana Krall-Wallflower (2015)

For her twelfth studio album, jazz pianist and singer Diana Krall presented a repertoire comprised of pop and rock standards from the last four decades, all contemporary classics that inspired her early career. Produced by David Foster, a born winner with more than 15 Grammy Awards to his name, the album also features collaborations with folk, rock, and jazz legends such as Graham Nash, Stephen Stills, Christian McBride, Michael Thompson, Nathan East, Michael Bublé, Timothy B. Schmit, Georgie Fame, Bryan Adams, Steve Jordan, and Jim Keltner, among many others. For the album, Diana Krall meticulously selected each song, including true classics such as "California Dreamin'" by The Mamas and The Papas, "Desperado" and "I Can't Tell You Why" by The Eagles, "Sorry Seems To Be The Hardest Word" by Elton John, "Alone Again (Naturally)" by Gilbert O'Sullivan, "Wallflower" by Bob Dylan, and "I'm Not In Love" by 10cc. In all of them, Diana Krall showcases her tremendous vocal talent, singing expressively and with great beauty. With this album, Diana Krall has definitively established that her artistic talent transcends any musical style, making her one of the most important and influential artists of recent decades.

The Walker Brothers-No Regrets (1975)

Despite being American, the Walker Brothers' fame began in England in the mid-1960s. It all started in 1965 with the success of their first single, "Make It Easy On Yourself," a song composed by Burt Bacharach a few years earlier. The Walker Brothers' voices became classics of 1960s pop during those years, with a style based on the perfect quality and vocal harmonies of the three members of the group: Scott Engel (Scott Walker), vocals and bass; John Maus (John Walker), vocals and guitar; and Gary Leeds (Gary Walker), drums and vocals. Their beginnings date back several years earlier when, after various experiences, they decided to move from California to England. There, in addition to the single "Make It Easy On Yourself," they achieved success with other songs like "My Ship Is Coming In." Their first album, "Take It Easy," also propelled them to triumph, leading to a true Walker Brothers boom. Their most iconic song, "The Sun Ain't Gonna Shine Anymore," and subsequent singles propelled them to the same commercial heights as The Beatles for several years. These singles included "Baby You Don't Have to Tell Me," "Another Tear Falls," "Deadlier Than the Male," "Stay with Me Baby," and "Walking in the Rain." However, this whirlwind of success didn't prevent the group from disbanding after their third album, "Images," released in 1967. Subsequently, none of the three members would achieve the same level of individual success they had enjoyed while together. In 1975, they reunited to record the brilliant "No Regrets," but after that, they never reunited again, remaining immortalized as a fundamental group of the 1960s thanks to their immense talent and perfect vocal harmonies.

City Boy-The Day the Earth Caught Fire (1979)

City Boy are one of the emblematic bands of the so-called art rock movement. Formed in 1974 in the British city of Birmingham by keyboardist Max Thomas, who, along with Steve Broughton (guitar and vocals), Chris Dunn (bass and acoustic guitar), Roger Kent (drums), Lol Mason (vocals), and Mike Slammer (guitar), left behind seven excellent albums between 1976 and 1981. "The Day the Earth Caught Fire", their fifth release, is one of their best, showcasing their great elegance and musical refinement by blending different styles ranging from pop to rock, including the complexity of progressive sounds, all replete with great melodies, powerful riffs, soaring keyboards, and rich vocal harmonies. Linking all the songs together as if they were a concept album about human folly, this release reflects a heavier and more organic sound than their previous works. The title track is a magnificent piece of energetic, heavy rock with progressive undertones, followed by other excellent songs such as the energetic "The Day The Earth Caught Fire" and "Interrupted Melody", where, in addition to their brilliant instrumentation, the irresistible vocal melodies stand out. The fast pace slows with the mid-tempo "New York Time", a beautiful song with AOR influences, while the catchy "Up in the Eights" provides a commercial moment with an accessible pop-rock melody. This outstanding work concludes with the complex and progressive mini-suite "Ambition".

Jon And Vangelis-The Friends Of Mr. Cairo (1981)

The second collaboration between British singer Jon Anderson and keyboardist and composer Vangelis resulted in "The Friends of Mr. Cairo", released in 1981, which achieved its greatest commercial success with a number one single and a top ten hit in the UK charts. In this second release, the duo largely moved away from the experimental style of their first album, "Short Stories", crafting a more accessible work without sacrificing the quality or the immense creativity that this masterpiece possesses. Based on the concept of cinema from the 1930s, 40s, and 50s, both musicians incorporated numerous fragments of contemporary film classics into the main theme, an unforgettable 12-minute piece divided into different sections, ranging from poignant passages to atmospheric and subtly romantic interludes. "I'll Find My Way Home" is another memorable composition where the dynamic progressive duo simply shines with a simple yet highly effective melody. Meanwhile, "Outside of This", despite sharing many similarities with the final section of the main theme, boasts a more sophisticated and complex treatment. The magnificent rhythms of the keyboards, percussion, and wind instruments, under Anderson's sensational vocals, lead "State of Independence" to another sublime moment, unfairly overshadowing the crescendoing symphonic "Beside", framed by a breathtaking and unforgettable melody. Finally, the ethereal "The Mayflower" arrives, a perfect blend of Anderson's voice and Vangelis's subtle synthesizers a majestic, intense, and moving piece that concludes yet another stellar work from this iconic duo.

Blackhorse-Blackhorse (1979)

Blackhorse was a Texas Southern rock power trio who released a single album in the late 1970s. At the time, it went completely unnoticed, but it's now destined to become one of those many forgotten, obscure albums ripe for rediscovery. Hailing from Dallas, the band consisted of drummer John Teague, guitarist and vocalist Gary James, and bassist and vocalist Paul Anthony Middleton. Their only album, released in 1979, was actually a limited run of promotional copies sold at their own concerts. With a style reminiscent of iconic bands like Lynyrd Skynyrd, Blackfoot, Molly Hatchet, and 38 Special, this release showcases their energetic and intense Southern hard rock with hints of boogie rock, featuring a repertoire of excellent compositions such as the vigorous "Fox Hunter", "Cannot Find My Way Home", "Hell Hotel", "The Party's Started", "Lucille", and "Dave's Song".

Freddie King-Texas Cannonball (1972)

His style was heavily influenced by established artists such as T-Bone Walker, B.B. King, and the great jazz guitarist Kenny Burrell. Once settled in his new city, he experienced some of the blues' golden age firsthand, listening to legends like Muddy Waters, Howlin' Wolf, and Lonesome Sundown. His playing style, with its wide variety of characteristic solos, achieving a clean and robust sound, along with his energetic voice, would make him, over the years, one of the most emblematic and celebrated bluesmen in history. After a good number of successes during the sixties, such as “Freddie King Sings” (1961), “Freddie King Goes Surfin’” (1963) or “My Feeling For The Blues” (1970), in which he has the participation of the superb saxophonist King Curtis and in which stand out songs such as “Wake Up This Morning” by B.B. King or the superb “Il Wonder Why” and “Stormy Monday”. Around this time, King showcased a large group of backing musicians, including the aforementioned King Curtis and legendary session musicians, most of them from the Atlantic Records stable, such as Frank Wess, George Coleman, Cornell Dupree, and Martin Banks. On his tenth album, "Texas Cannonball", released in 1972 and considered one of the best blues albums ever made, he once again enlisted King Curtis as producer, featuring eleven blues standards by T-Bone Walker, Elmore James, Ray Charles, Jimmy Reed, and Jimmy Witherspoon, as well as his own composition, "You Was Wrong". In the following years, he released a series of albums, including "Woman Across the River" (1973), "Burglar" (1974), and "Larger Than Life" (1975), his final work, in addition to various collaborations and compilation albums. However, Freddie King's career was tragically cut short on December 28, 1976, when he died of a heart attack. His death shocked the blues and rock world, and some years later he was included in the select group of the 100 greatest guitarists of all time. Ironically, observing the rise of blues rock and British blues, Freddie King once remarked in the mid-sixties that "the blues had undergone some changes in just a few years, especially since it was discovered by white kids".

Budgie-If I Were Brittania I´d Waive The Rules (1976)

During their early period, the Welsh band Budgie recorded their most classic albums, a time when they showcased their heavy rock and blues rock side infused with progressive elements. In this vein, they released magnificent works such as "Budgie" (1971), "Squawk" (1972), "Never Turn Your Back on a Friend" (1973), and "In For The Kill" (1974). A year later, with "Bandolier", the Cardiff-based group began their transition towards a more predictable, solid hard rock sound, while still maintaining progressive structures but lacking the creativity of their earlier work. With their next album, "If I Were Britannia I'd Waive The Rules", the band definitively abandoned those complex compositions in favor of a more eclectic style that evolved into the generic hard rock they had begun exploring with its predecessor. Even so, there are some very enjoyable tracks here, such as the heavy blues "Anne Neggen", the rocking "If I Were Britannia,'d Waive the Rules", the blues-rock "Quacktor and Bureaucats", the melodic "Heaven Knows Our Name", and the vintage "Black Velvet Stallion", the latter being the best vestige of their glorious past. However, the album also reveals a certain lack of ideas, as seen in the uninspired "Sky High Percentage", a failed blues-rock track with mediocre instrumentation, and the mid-tempo, mainstream-influenced "You're Opening Doors". Despite the positive aspects of the vast majority of the tracks included here, the final result of the album shows a certain disconnect from their classic albums.

Eric Gale-Multiplication (1977)

Despite spending much of his career as a session musician working for other artists, Eric Gale is one of the most refined and talented guitarists in jazz fusion, funk, and soul blues. Born in New York, Gale began playing guitar as a child and eventually became one of the most celebrated guitarists, recording with artists such as Grover Washington Jr., Herbie Mann, Nina Simone, Paul Simon, Bob Marley, Van Morrison, and Al Jarreau, among more than 500 collaborations. In 1973, Gale released his first solo album, "Forecast", followed by "Negril" (1975) and "Multiplication" (1978). On the latter, he collaborated with Bob James on production and keyboards, Eddie Daniels on saxophone, Steve Gadd on drums, and Randy Brecker on trumpet, among other prominent musicians in the jazz scene. "Multiplication" is a remarkable work of jazz fusion/rock in which gospel and funk sounds appear here and there, in a series of skillfully played compositions and even better arrangements courtesy of Bob James. From the gospel-infused "Oh Mary Don't You Weep" to the solid fusion tracks "Multiplication" and "Morning Glory", passing through the funky rhythms of "Thumper", the subtle wailing of his guitar in "Sometimes I Feel Like a Motherless Child", and the synth-driven sounds of James and Daniels' saxophone in "Gypsy Jello," the album creates a work brimming with rich musical spaces and very pleasing, consistent jazz fusion lines and rhythms.

Jethro Tull-Roots To Branches (1995)

The 1990s were the least prolific decade, in terms of recordings, for the band led by Ian Anderson, releasing only three albums widely spaced: "Catfish Rising" (1991), "Roots to Branches" (1995), and "J-Tull Dot Com" (1999). Four years after the classic rock-oriented "Catfish Rising", Anderson gave the group's music a new direction, shifting their sound towards Middle Eastern influences and fusing them with their usual progressive folk-rock and doses of hard rock. For the recording of this new album, the lineup expanded with the addition of keyboardist Andrew Giddings, who joined the regulars of recent years: Martin Barre, Doanne Perry, and David Pegg. Despite the diverse sound of this album, one of the British band's most eclectic, progressive elements are ever-present, such as Anderson's omnipresent flute or Martin Barre's occasional hard rock guitar riffs, enhanced by Giddings' exuberant keyboard work. Excellent tracks like the powerful flute frenzy of "Dangerous Veils", the melancholy of "Another Harry's Bar", the lively folk rock of "Beside Myself", the progressive "Wounded, Old and Treacherous" and "At Last Forever", the hard rock of "Roots to Branches", and the somber and hypnotic "Stuck In The August Rain", make up a work where traces of the band's distant progressive past can still be detected, but which also showcases the musical evolution of its frontman and his continuous search for different musical influences.

Grateful Dead-Live Dead (1969)

In 1967, the Grateful Dead released their self-titled debut album, a work with a repertoire of still somewhat undefined songs influenced by the blues and the band members' distinctive personalities. Afterward, the group expanded with the addition of keyboardist Tom Constanten and percussionist Mickey Hart, two musicians who would be fundamental to the band's career in the years to come. At that time, the rest of the lineup consisted of guitarist, leader, and driving force Jerry Garcia, drummer Bill Kreutzman, bassist Phil Lesh, keyboardist Ron McKernan, and guitarist Bob Weir. With this lineup, the band released their first major masterpiece, "Anthem of the Sun", in 1968, followed a year later by another seminal work, "Aoxomoxoa". These albums showcased the group's impressive power, with their intricate and original themes, instrumental jams, hazy atmospheres, and the incredibly long solos of all their virtuoso musicians. However, it was live that the Grateful Dead truly unleashed the full potential of their repertoire, delivering extensive performances that stretched until dawn, leaving audiences stunned by the avalanche of creative and breathtaking sounds. Due to these memorable performances, a phenomenon known as the "Deadheads" grew up around the group—massive fan groups organized throughout the United States that never abandoned them until the band's dissolution in 2015. Even today, the "Deadheads" movement is one of the most powerful and influential in the United States. To best share the magic of those concerts, the double album "Live Dead" was released near the end of 1969. It consists of a repertoire recorded on various nights at the Fillmore West in San Francisco during the first months of that year. However, it was also released to help offset the debt the Grateful Dead had incurred with Warner Bros. for their album "Aoxomoxoa", which, due to its extensive and meticulous production, had cost them a staggering $180,000. The album didn't sell particularly well at the time, but their live shows were significantly expanding their cult following, thanks to their extended performances, which ranged from three to six hours each night. It's worth noting that the Grateful Dead were an exceptionally dedicated band, striving for perfection in their performances, musical originality, the production of their recordings, and extensive live improvisations. At this point, we mustn't forget their famous and legendary "Wall of Sound", a massive and sophisticated sound system built exclusively for the band, about which you can find more information in the link at the end of this post. "Live Dead" opens with the monstrous and monumental "Dark Star", which, at 23 minutes long, is undoubtedly the "Holy Grail" of the aforementioned "Deadheads," and one of the groundbreaking and exploratory tracks that became an art form in rock. Built on two simple main chords, it is undoubtedly the band's most complete and complex sonic passage, requiring a superhuman amount of telekinesis, confidence, and...LSD (the band's and their fans' preferred drug) for listening and understanding (or at least that's what the band members and fans claimed). At their most indulgent, the Dead could play "Dark Star" for literally hours on end, unfolding walls of feedback, avant-garde exploration, and lengthy improvisations, before returning to the two simple opening chords. The rest of this double album consists of the ramshackle and psychedelic "St. Stephen", the brilliant "The Eleven", the lengthy experimental blues "Turn On Your Love Light", the lilting blues "Death Don't Have No Mercy", and the avant-garde and lysergic "Feedback". “Live Dead” is considered by the most purist fans of live music as the best live recording in history, mainly because no one ever sounded as supernatural as they did in their memorable and unique shows of those longed-for years.

Taj Mahal-Giant Step/De Ole Folks at Home (1969)

Taj Mahal is one of the great pillars of the blues, yet he has never achieved the fame or recognition of other more media-savvy bluesmen like B.B. King, John Lee Hooker, or Muddy Waters. Born in the mid-1940s, his artistic beginnings were rather tentative, practicing a style of blues that bore little resemblance to the mainstream, infused with gospel, jazz, swamp, and zydeco sounds. Consequently, purists were among the first to downplay his style at the start of his career. However, all those opinions became outdated when The Rolling Stones themselves invited him to participate in their "Rolling Stones Rock and Roll Circus" show in 1968. This momentous event marked the beginning of a reassessment of his unique style, which would contribute to the widespread dissemination of his work and the recognition of Taj Mahal's early albums from the late 1960s. With his second album, "The Natch't Blues", he gained enough fame to risk releasing a double album that would definitively cement his career among the great bluesmen of the era. Genericly titled “Giant Step/De Ole Folks at Home” (1969), this double album comprised two distinct discs. On the first, “The Giant Step”, Taj Mahal (vocals, harmonica, banjo, and steel guitar), accompanied by the powerful trio of Jesse Ed Davis on electric and acoustic guitar and organ, Gary Gilmore on bass, and Chuck Blackwell on drums, showcases his eclectic blues essence in tracks like the rock and roll “Keep Your Hands Off Her”, the blues classics “Give Your Woman What She Want”, “Good Morning Little Schoolgirl”, and “Bacon Fat”, the southern-tinged “Six Days On The Road”, and the borderland-tinged “Further On Down The Road”. Meanwhile, the second disc is a tour de force of solo performance by Taj Mahal with his guitar, harmonica, and vocals, reviving the primitive blues of the early 20th century with various influences such as gospel and different tribal sounds. With this double album, considered one of the best in the history of blues, Taj Mahal would enter the legend of the genre and, in turn, his career would be revalued, becoming one of the icons of the genre in the following three decades.

Sam Cooke-Live at the Harlem Square Club, 1963 (1985)

For many, this is the best live album of all time, belonging to one of the greatest voices of all time: Sam Cooke. Sam Cooke was a pivotal figure in establishing soul music as a genre. His career, filled with essential songs and albums, demonstrated the enormous talent of this legendary and unforgettable singer. Cooke mastered soul, rhythm and blues, gospel, and rock and roll like no other, and along with Otis Redding and James Brown, he is considered one of the undisputed kings of soul, achieving a staggering fifty hits in just eight years (1957-1965). His death under mysterious circumstances on December 11, 1964, is one of the most tragic dates in the history of popular music. A year earlier, on June 12, Sam Cooke had performed a show at the legendary Harlem Square Club in Miami, which was recorded in its entirety and released many years after his death. That night, Cooke was surrounded by his usual band, comprised of guitarists Clifton White and Cornell Dupree, bassist Jimmy Lewis, drummer Albert Gardner, pianist George Stubbs, and the horn section of King Curtis and Tate Houston. In this live performance, Cooke sheds his elegant composure to become, for one night, a sweaty "soul man", singing and dancing with wild, rhythmic passion to an audience completely devoted to him. From the opening track, "Intro (Don't Fight It) Feel It", to the album's closing song, "Having a Party", Cooke demonstrates his incredible intensity on stage, completely energetic, powerful, and unrestrained, revisiting some of his greatest hits such as "Cupid," "Chain Gang," "Somebody Have Marcy", "Bring It On Home to Me", and "Twistin' the Night Away". “Live at the Harlem Square Club, 1963” is considered one of the 500 best albums in history and a fabulous document of the best soul music ever heard.

Elf-Live At The Bank 1972 (1972)

Elf was a blues and heavy rock band formed in the late 1960s that remained active until the mid-1970s when several of its founding members were recruited by Ritchie Blackmore to join his new project after he left his beloved Deep Purple. These members were singer and bassist Ronnie James Dio, drummer Gary Driscoll, bassist Craig Gruber, and keyboardist Doug Thaler, who, along with guitarist David Feinstein, had released three noteworthy hard blues rock albums by 1975. In 1972, while touring in support of their self-titled debut album, Elf, they performed at a festival in Cortland, New York. This performance was available for many years as a bootleg titled "Live at The Bank, Cortland 1972", and was officially released in 2011, just a year after Ronnie James Dio's death, by the singer's family. With more than acceptable sound quality, this live recording is a historical document showcasing the band's enormous live potential, led by the diminutive singer. Packed with covers, delivered in the group's signature blues and hard rock style, it features a string of classics such as Jethro Tull's "Cross-Eyed Mary" and "Aqualung", Rod Stewart's "An Old Raincoat Will Never Let You Down", Led Zeppelin's "Black Dog", Humble Pie's "Four Day Creep", The Who's "Won't Get Fooled Again" and "Baba O'Riley", and a culminating version of Black Sabbath's "War Pigs".

Rossington Collins Band-Anytime, Anyplace, Anywhere (1980)

Another of the great Southern rock bands was the Rossington Collins Band, formed some time after the tragic plane crash that killed Ronnie Van Zant, Steve Gaines, and his sister Cassie Gaines, while they were en route from Greenville, South Carolina, to Baton Rouge, Louisiana. This band consisted of guitarists Gary Rossington, Allen Collins, and Barry Harwood; Billy Powell on keyboards; Derek Hess on drums and percussion; Leon Wilkeson on bass; and singer Dale Krantz. Their first album, "Anytime, Anyplace, Anywhere", released in mid-1980, was a huge success. This debut featured the Southern rock anthem "Don't Misunderstand Me", as well as the bright and energetic tracks "Prime Time", "One Good Man", "Winners and Losers", and the boogie-rock number "Opportunity". Near the end of the following year came their second album, and ultimately their epitaph, "This Is The Way", where they reinforced their Southern sound with heavier, more powerful elements, highlighting the Southern boogie "Gotta Get I Straight", the beautiful "Tashauna", the gospel-infused "Pine Box", and the rock and roll anthem "Don't Stop Me Now". Once this second album was released, Gary Rossington left the band due to internal disagreements with the rest of the group, a fact that would precipitate the definitive dissolution of the Rossington Collins Band some time later. Several years later, Allen Collins founded the Allen Collins Band, which had a short run due to Collins' own erratic behavior, a consequence of his alcohol addiction. He definitively abandoned the project in 1985 due to a serious car accident that left him practically paralyzed for a very long time.

Firefall-Firefall (1976)

Another legendary country rock and southern rock band was Firefall, who released a series of superb albums in the 1970s that placed them at the top of the genre, almost on par with their most prestigious contemporaries like Lynyrd Skynyrd, The Eagles, and The Marshall Tucker Band. Founded in Colorado in the mid-1970s, their core members were guitarists and founders Jock Bartley and Rick Roberts, who had previously played in the bands The Flying Burrito Brothers and Zephyr. The two musicians, along with bassist Mark Andes, drummer Michael Clarke, and guitarist Larry Burnett, recorded their self-titled debut album in 1976. It featured catchy melodies reminiscent of country pop, such as "It Doesn't Matter", "Love Isn't All", "Dolphin's Lullaby", and "Sad Ol' Love Song". These, in contrast to the country rock tracks "Mexico," "Livin' Ain't Livin' ", and "No Way Out", showcased a diverse and appealing style, reminiscent of the melodic and vocal lines of bands like America and The Eagles. This first album reached a respectable number 26 on the American charts, thanks in part to hits like the enchanting "You Are The Woman", which achieved a top ten hit on the Billboard charts. A year later, the band expanded with the addition of keyboardist David Muse, with whom they recorded their next album, "Luna Sea". This album followed a similar path but featured more sophisticated arrangements thanks to Muse's contributions of synthesizers and electronic keyboards. This second release featured standout tracks such as the addictive country rock song "So Long", the energetic "Sold On You", the southern-tinged "Just Think", the catchy rock song "Getaway", the rhythmic country track "Head On Home", and the powerful "Even Steven". Their characteristic melodic vein was also present in the delightful "Just Remember I Love You" and "Only A Fool". "Luna Sea" would go on to surpass their debut album on the charts, reaching a surprising eleventh place on the Billboard charts. The tremendous success of this second album was mirrored in their third work, "Elan", released in 1978, which contained a repertoire of exquisite country rock tracks such as "Strange Way", "Wrong Side of Town", "Count Your Blessing", "Anymore", and "New Man". But from this point on, the band entered a creative crisis, as evidenced by the uneven "Undertown", the last album recorded with the original lineup, which barely made an impact beyond the American country rock scene. From then on, a constant turnover of new members led Firefall through a period filled with good albums like "Cloud Across the Sun" (1980), "Break of Dawn" (1982), and "Mirror of the World" (1983), but none quite reaching the brilliance of their first three works. 

Foreigner-Agent Provocateur (1984)

Three years after the release of the multi-platinum "4", Foreigner returned with a new album titled "Agent Provocateur", the fifth in the band's career. While not reaching the heights of its predecessor, it still showcased a band in top form, creating iconic songs like the extraordinary "I Want To Know With Love Is", which would soon become one of their most emblematic tracks alongside classics like "Feels Like The First Time", "Cold as Ice", "Hot Blooded", and "Urgent". However, this album didn't just live off the success of such a great ballad; it also features interesting tracks like "That Was Yesterday", another superb mid-tempo song, and the powerful rock tracks "Tooth and Nail" and "She's Too Tough", not to mention the forceful "Strange in My Own House" and the melodic "A Love in Vain" and "Two Different Worlds". Together, these songs form a well-balanced work that would perform perfectly on the charts around the world, achieving five platinum records for its massive worldwide sales and keeping them at the forefront of adult-oriented rock.

Leslie´s Motel-Dirty Sheets (1972)

Another of those obscure and unknown bands from the 1970s was the impressive Leslie's Motel, who played a Southern rock with hints of blues and hard rock. They only had the opportunity to record one forgotten album, which was rediscovered several decades later. Hailing from Kentucky, their original lineup consisted of vocalist and guitarist Bill Tullis, guitarist and vocalist Mike Seibold, keyboardist Richard Bush, bassist Ray Barrickman, and drummer Roy Blumenfeld, the latter a former member of Al Kooper's Blues Project. In 1972, they recorded a series of songs that would later appear on their debut album, "Dirty Sheets", which featured tracks such as the jazzy "Step Down Baby", the frenetic blues-rock "My Sweet Woman", the psychedelic hard rock "Blister", the dusty "Reason Why" and "Windmills", and "Latino Motel", the latter a jam tour de force with clear influences from Santana's Latin sounds. In the following years, the band toured extensively throughout North America with renowned artists such as Harvey Brooks, the Charlie Daniels Band, and Mike Bloomfield, among others, before finally disbanding some time later with little media or commercial impact.

James Taylor-Mud Slide Slim and the Blue Horizon (1971)

James Taylor is one of the greatest singer-songwriters in history. His deeply sensitive, acoustic songs have made him one of the most influential artists of all time. His beginnings were quite turbulent; mental health issues stemming from excessive drug use and a rather unpredictable life marked him for the rest of his life. Musically, his beginnings weren't much better. His first two albums from the late sixties had little impact, and it wasn't until the early seventies, with his second album, "Sweet Baby James", that he achieved recognition from both the public and critics. With a style clearly related to folk, in which he practically used no electronic instruments, Taylor gave much more importance to his voice, his poetic and poignant lyrics, his guitar in the foreground, and minimal but effective percussion. Tracks like the understated “Oh Susannah” (a version of Stephen Foster’s 1848 classic) and the brilliant “Fire and Rain” propelled the album to a surprising third place on the US charts. However, this success would be overshadowed the following year with the release of her next album, “Mud Slide and the Blue Horizon”, which featured a small group of musicians including Carole King (who even contributed the hit “You’ve Got a Friend”), Danny Kortchmar, Joni Mitchell, and Leland Sklar. Following the same musical pattern as her previous album, Taylor presented a series of acoustic songs with minimal accompaniment that reached number two on the Billboard charts and a number one single with the aforementioned “You’ve Got a Friend”, in addition to selling two million copies in the US market.

Queen-Live At Wembley ´86 (1986)

After the massive 1985 concert, "Live Aid," the British band Queen, immersed in a deep creative and internal crisis and facing doubts about their future, persevered, rising from the ashes with their next album, "A Kind of Magic." On the tour following this album, the band performed around thirty concerts throughout Europe, though not in the United States, where they were banned due to their provocative and (in the eyes of the American authorities) obscene promotional video, "I Want to Break Free." On July 11 and 12, 1986, they performed at the legendary Wembley Stadium, and the material from those performances was released later that year as the double live album "Live at Wembley '86." Before more than 150,000 people who filled the stadium during those two days, Queen, with Freddie Mercury at the helm, presented a wide repertoire of their greatest hits such as "Under Pressure", "Another One Bites The Dust", "I Want To Break Free", "Crazy Little Thing Called Love" or "Bohemian Rhapsody", in addition to several songs from the album that motivated the tour such as the eponymous "A Kind of Magic", or other emblematic songs such as "Seven Seas of Rhye" or the infectious "In the Lap of the Gods"; the hard rock "Tie Your Mother Down", "Now I'm Here" and "Hammer to Fall"; or a moving tribute to late 1950s rock and roll with "(You're So Square) Baby I Don't Care," "Hello Mary Lou Goodbye Heart," and "Tutti Frutti," culminating in a thrilling finale with the energetic "Radio Ga Ga" and the unbeatable duet of the iconic "We Will Rock" and "We Are the Champions.". To close, the British anthem "God Save the Queen," with Freddie Mercury dressed in a cape and crown emulating the Queen of England, perhaps the most legendary and memorable image of one of the greatest singers in rock history.

Danny Joe Brown-And The Danny Joe Brown Band (1981)

Danny Joe Brown is best known for his membership in the legendary Southern rock band Molly Hatchet, with whom he recorded six outstanding albums: "Molly Hatchet" (1978), "Flirtin' with Disaster" (1979), "No Guts...No Glory" (1983), "The Deed is Done" (1984), "Lightning Striker Twice" (1989), and "Devil's Canyon" (1996), before leaving the band due to health problems shortly after the release of the latter album. However, he had already temporarily left the band after the album "Flirtin' with Disaster" (Molly Hatchet's biggest commercial success, achieving multiple platinum records) to found his own, The Danny Joe Brown Band. With them, he released the self-titled album "Danny Joe Brown and The Danny Joe Brown Band" in 1981, which became a cult classic of southern rock. Its repertoire was packed with American hard rock anthems like "Sundance", "Nobody Walks on Me", "The Alamo", "Run for Your Life", and in particular, "Edge of Sundown" a superb guitar epic that emerged directly from the depths of southern rock classics like Lynyrd Skynyrd's "Free Bird" and the Outlaws' "Green Grass & High Tides", crafting a tremendous album that rivaled anything from his main band. In 2005, Danny Joe Brown passed away due to problems stemming from diabetes and kidney failure, which he had suffered from since the late 1970s.

Ted Nugent-Ted Nugent (1975)

In 1975, Ted Nugent began his solo career after disbanding his previous psychedelic rock band, The Amboy Dukes. This debut would become one of the most outstanding in the history of American rock, featuring a stellar lineup of musicians led by singer Derek St. Holmes, bassist Rob Grange, and drummer Cliff Davies. On this first album, Ted Nugent delivers an energetic record of pure rock and roll, with Southern influences and hints of blues, achieving a work that is both perfect and superb. From the opening track, "Strangehold", a spectacular piece of experimentation with a tense and hypnotic atmosphere, the album unfolds with a relentless succession of songs that offer no respite. This is followed by the effective and visceral "Stormtroopin' ", the mid-tempo "Hey Baby," a track that provides a counterpoint to the frenetic rhythm, the psychedelic "Just What The Doctor Ordered", and the defiant "Sneakeskin Cowboys", the latter of which concludes the first side of the original vinyl. Side two begins with the frenetic "Motor City Madhouse", followed by the melodic "Where Have You Been All My Life" and "You Make Me Feel Right At Home", before ending with the powerful and potent "Queen of the Forest", thus concluding one of the best American hard rock albums, Ted Nugent's magnum opus, and a true gem of rock music.

Bröselmaschine-Bröselmaschine (1971)

Bröselmaschine was a German band that drew on the influences of American folk artists like Bob Dylan and Phil Ochs. Under the tutelage of acoustic guitar master Peter Bursch, the band formed in 1968 in Duisburg, Germany, with vocalist Jenni Schucker, guitarist and player of other exotic stringed instruments Willi Kismmer, bassist Lutz Ringer, and keyboardist Mike Hellbach. This quintet disbanded after their first and best album in 1971, although they later continued to release albums under the name Peter Bursch und Die Broselmaschine, though these were less impactful and strayed from the musical style of their debut. “Bröselmaschine” was the self-titled album of this band, released in 1971 under the German label Pilz. It contained a delicate and subtle blend of sounds filled with Indian oriental music, featuring instruments such as the sitar, the tabla, and the flute, mixed with traditional British and Irish folk, with progressive and psychedelic touches, and bathed in rich vocal harmonies produced by Jenni Schucker's irresistible whispering voice.

Hölderlin-Hölderlin's Traum (1972)

This band, which borrowed its name from the 19th-century German poet Friedrich Hölderlin, is one of the most underrated in the history of German rock and progressive rock in general. Founded in 1970 in the city of Wuppertal in the Rhineland state of West Germany by brothers Christian and Joachim Grumbkov, highly experienced musicians who came from the band The Beatkids, founded in 1963, the first Hölderlin lineup consisted of singer Nanny DeRuig, drummer Michael Bruchmann, and bassist Peter Kaseberg. Together with the Grumbkov brothers' guitars and mellotrons, they soon distinguished themselves with their British-influenced folk rock blended with classical music. Just three months after forming, the Pilz label signed them and produced their debut album, "Hölderlin's Traum", which was released in 1972 and became one of the biggest milestones in German rock that year. An album containing nine tracks featuring DeRuig's beautiful voice, grand Mellotrons, violins and cellos, sitar, and other instruments, which, in a clever blend of folk, rock, progressive rock, jazz elements, medieval sounds, and a touch of hippie idealism, make this record a minor masterpiece. From its opening track, "Waren Wir", to its closing track, "Traum", the music is dazzlingly beautiful. Three years later came their second album, "Hoelderling", with a more jazzy style and Crimson-esque influences. For their third album, "Clowns and Clouds", the music became much more ambitious with complex arrangements, theatrical elements, and surrealism. From then on, a series of albums focused on melodic rock and much more accessible were released well into the 1980s.

Ikarus-Ikarus (1971)

Ikarus was a short-lived German band formed in Hamburg in the late 1960s. Their roots lay in the cover band Beatique in Corporation, which specialized in versions of rock and pop classics from the 1950s and 60s. After winning an award that included them on the MCA label compilation album "Pop and Blues Festival 70," they changed their name to Ikarus and simultaneously shifted their style towards more experimental territory. Their lineup consisted of singer Lorenz Kohler, bassist Wolfgang Kracht, guitarist and multi-instrumentalist Jochen Petersen, drummer Bernd Schroder, guitarist Manfred Schulz, and keyboardist Wulf Dieter Struntz. The vast majority of these musicians had classical conservatory training. Although Ikarus were German and situated amidst the emerging krautrock movement, they were more in tune with the British scene than with the German movement. Instead of the expansive psychedelic atmospheres typical of krautrock, they sought sounds more oriented towards progressive blues rock. Their only album, released in 1971, contained four long, distinct tracks, demonstrating Ikarus's eclectic musical mastery. The opening track, "Eclipse", is a progressive heavy rock song with a dominant organ, symphonic arrangements, and great guitar riffs. "Mesentery" is much more complex, with passages reminiscent of Van Der Graaf Generator and moments of intense heavy rock. Meanwhile, "Early Bell's Voice" is a more conventional progressive composition with mellotron, drums, and saxophone in a rich instrumental interplay and expansive symphonic developments.

North Star-Feel The Cold (1985)

North Star is one of the best symphonic prog bands in the United States, yet they remain somewhat underrated. This band offered a sound brimming with rich, colorful melodies, full of power and great beauty, featuring the vocals of Joe Newman and the precise keyboards of Kevin Leonard. They possess some of the best characteristics of the finest progressive rock: rapid rhythmic shifts, strange and atmospheric passages, prominent bass lines, and keyboards with solemn sounds. “Feel The Cold”, North Star's second album, released in 1985, is considered a gem within progressive rock circles. It boasts a consistent and solid symphonic sound, excellent keyboard arrangements, and the powerful drumming of the band's third member, Glenn Leonard, brother of keyboardist Kevin. Clearly inspired by the sounds of Genesis during their more baroque era; “Wind and Wuthering” or “And Then There Were Three” contains a “vintage” sound with respect to the large layers of keyboards as demonstrated in the opening “Feel The Cold” or in “Plastic Fantastic”, which followed by the longer piece “Tomorrow Never Comes” and its great instrumental arrangements or the apotheotic instrumental “Finale”, maintain the status of the band at a very high level, showing a great work of symphonic prog of the highest level despite the apparent lack of originality.

Eric Woolfson-Freudiana (1990)

This album is somewhat reminiscent of The Alan Parsons Project's side project, Keats, which was discussed some time ago on this blog. For years, Alan Parsons himself worked on a piece for his band based on the life and work of Sigmund Freud. It's worth remembering that the Alan Parsons Project has consistently been based on concept albums with a strong literary foundation, such as those inspired by Edgar Allan Poe or Isaac Asimov, as well as other concepts, far removed from the purely lyrical but not the musical. Therefore, it was originally an album attributed to The Alan Parsons Project, and it came about when Woolfson presented the idea to Parsons, and the two of them began composing both the lyrics and the music for this work. However, amidst the songwriting process and even the initial recordings, Brian Brolly, a music promoter, entered the picture and convinced Woolfson that his idea was perfect for a theatrical performance. This didn't sit well with Alan Parsons, who left the project when most of the album's songs were practically finished. Despite this, the double LP was eventually recorded and titled "Freudiana", released in 1990. All the songs were recorded with the musicians who were regulars with The Alan Parsons Project: Ian Bairnson, Andrew Powell, Stuart Elliott, and Laurie Cottle. Production was handled by Alan Parsons, with Woolfson himself playing keyboards and vocals. The album also features the voices of Leo Sayer, Eric Stewart, Chris Rainbow, and John Miles (the latter three also frequent collaborators on The Alan Parsons Project albums), among others. The album itself is a testament to The Alan Parsons Project's signature sound, featuring tracks like the epic "The Nirvana Principle", the melodic and impressive "Freudiana", the powerful rock songs "I Am a Mirror" and "You're On Your Own", the electronic pop of "Let Yourself Go", the complex "No One Can Love You Better Than Me", the Beatles-esque "Little Hans", and the vintage "Upper Me". This would be the last album recorded but not officially attributed to The Alan Parsons Project, who bid farewell with a work that wasn't even credited to its creators. Interestingly, it's one of the project's best works, and although not officially credited, it's generally given to the Parsons-Woolfson duo, or, more accurately, to The Alan Parsons Project.

Deodato-Prelude (1973)

Emuir Deodato's career has always been marked by his fantastic 1973 adaptation of Richard Strauss's classic "Also Sprach Zarathustra". But the story of this Brazilian pianist, composer, arranger, and producer, born in 1942, is much more than this splendid version; his career is full of excellent albums and collaborations with other artists. Among his achievements is having launched Milton Nascimento onto the music scene when, in 1967, three of his compositions earned him the International Song Festival prize. That same year, at the invitation of guitarist Luiz Bonfa, he moved to the United States, where he showcased his talent in the jazz scene. Signed to the CTI label, he became a key figure in recordings for artists such as Frank Sinatra, Aretha Franklin, and Stanley Turrentine, in addition to working as a producer and contributing to film soundtracks. But his career truly took off when his 1973 album "Prelude" achieved massive success. Surrounded by great musicians like Ron Carter, Billy Cobham, Stanley Clarke, Ray Barretto, Airto Moreira, and Marky Markowitz, Emuir Deodato left his mark on a fantastic jazz fusion album. Combined with orchestral embellishments and rock elements, it expanded a rich sonic texture, underpinned by funk arrangements and string and wind instruments, and infused his style with a delightful groove. The album's standout track is the aforementioned funk-jazz version of "Also Sprach Zarathustra", immortalized by Stanley Kubrick in the film "2001: A Space Odyssey". But this track doesn't detract at all from the rest of the album, such as "Spirit of Summer", "Carly & Carole", "September 13", and "Prelude to the Afternoon of a Faun", which showcased the Brazilian musician's compositional and instrumental maturity, resulting in a truly timeless work. The album would go on to win awards from various jazz magazines, as well as a Grammy Award for Best Performance, and sell over five million copies, propelling the musician's career worldwide and securing him a prominent place among the greats of jazz fusion of the era.

Dan Fogelberg-Phoenix (1979)

Dan Fogelberg was one of the most exquisite folk and country rock singer-songwriters of the 1970s, with a discography brimming with hits, as evidenced by his first six albums, all of which went platinum and ultimately made him one of the most significant artists of the genre and a true idol in the United States. Dan Fogelberg was also a frequent collaborator on the work of other great artists such as Jackson Browne, Roger McGuinn, and Randy Newman. From his second album, "Souvenirs" (1974), Dan had the support of some members of The Eagles, such as Joe Walsh, Don Henley, and Glenn Frey, as well as other legendary musicians like Gerry Beckley of America, Al Perkins of The Flying Burrito Brothers, and Graham Nash. In the following years, Dan Fogelberg released a series of brilliant folk and country rock albums such as "Captured Angel" (1975), "Nether Lands" (1977), and "Phoenix" (1979). The latter was his greatest commercial success, selling over two million copies and reaching number three on the US Billboard charts. It included "Longer", one of his most iconic songs and a number one hit, as well as other appealing tracks like the country rock songs "Phoenix" and "Face the Fire", the beautiful, intimate folk song "Gypsy Wind", and the irresistible and captivating soft rock songs "The Last to Know", "Beggar's Game" and "Heart Hotels".

Crosswind-Crosswind (1978)

Crosswind was another of the most important Japanese jazz-rock bands, a natural competitor to others like the legendary Cassiopeia or Space Circus. However, Crosswind focused on atmospheric and progressive sounds with intricate compositions far removed from the funk-rock fusion of their contemporaries. Along with another highly popular band like Space Circus, Crosswind was fundamental in the evolution of Japanese rock. They bridged the gap between the era of hard rock and Japanese space rock, exemplified by bands like Flower Travelling Band or Far East Family, and the progressive hard-rock jazz sounds of Kenso or Ain Soph. Formed in the mid-seventies by the virtuoso guitarist Ginji Ogawa, who already had an extensive musical career in bands like Nezuma Kozo, Crosswind had earned a great reputation in the Japanese jazz scene. In 1976, Ogawa recruited bassist Kazou Kobayashi, drummer Souro Toru, and keyboardists Megumi Marou and Fumitaka Anzai, with whom he released his debut album, "Crosswind", two years later. On this first album, the band showcased the virtuosity of their guitarist and the duality of the two keyboardists alongside a powerful and dynamic rhythm section, as demonstrated in the tracks "Ari No Daiido" and "Crosswind", while a fusion influence is present in the relaxed "Neko To Kororin no Fushigina Tabi". On the other hand, the atmospheric and progressive side appears in the evocative "Ryuhyo" and "Yuyake". This first album was followed by “Crosswind II” (1979) and “Soshite Yume No Kumi E” (1982), after which the journey of this formidable band came to an end, with all its members going on to take part in independent projects.

Harvey Mandel-Shangrenade (1973)

A pioneer of modern Chicago electric blues, Harvey Mandel developed and mastered sustained and controlled feedback like no other, showcasing great virtuosity on the electric guitar and creating techniques that were incorporated by countless subsequent guitarists, such as Eddie Van Halen and the two-handed tapping method. Throughout his long career, Harvey Mandel performed alongside blues legends such as Muddy Waters, Buddy Guy, Otis Rush, and Howlin' Wolf, in addition to collaborating on albums by The Rolling Stones and Canned Heat. In 1966, together with the legendary blues harmonica player Charlie Musselwhite, he released the album "Stand Back! Here Comes Charlie Musselwhite's Southside Band", considered one of the most iconic albums in blues and rock and roll. Two years later, Mandel released his first solo album, "Christ the Redeemer", where he confirmed his enormous talent on the electric guitar, presenting a series of blues-focused tracks. The late sixties were a frenetic time for Mandel, as he collaborated frequently with other artists such as Barry Goldberg, Graham Bond, John Mayall, and Canned Heat, with whom he performed at the legendary Woodstock festival, replacing guitarist Henry Vestine. It was during this period that he began his professional relationship with Don "Sugarcane" Harris, who would become a regular collaborator on all his subsequent work. However, Mandel never abandoned his solo career, regularly releasing blues-rock albums such as "Righteous" (1968), "Games Guitars Play" (1970), "Baby Batter" (1971), and "The Snake" (1972). On "Shangrenade", his seventh album, the blues gives way to more jazzy and funky sounds, resulting in a work that is both captivating and evocative, showcasing his six-string technique throughout the entire record. Excellent efforts focused on jazz-funk such as "What The Funk" alternate with others of a clear jazz-rock nature such as "Fish Walk" or "Sugarloaf", approaches to rock such as "Midnight Sun Li" or relaxed jazz fusion tracks such as "Green Apple Quickstep" or "Million Dollar Feeling".

Osibisa-Osibisa (1971)

Osibisa released their debut album in 1971. In this first work, the Afro-British band showcased a brilliant fusion of psychedelic Afro-pop and jazz-rock sounds, magnificently captured by a group of outstanding instrumentalists and vibrant, energetic compositions. Tracks like the beautifully arranged “The Dawan” and the joyful jazz-rock “Music For The Gong Gong” demonstrate the group's sonic diversity, while the superb “Ayiko Bia”, the dynamic “Oranges”, and the sublime “Phallus C”, perfectly encapsulate Osibisa's style with soaring saxophone, organ, and guitar lines, supported by simply masterful percussion. In conclusion, this is undoubtedly one of the best jazz-funk-afro-pop-rock albums ever released and would elevate Osibisa even though in subsequent years they would release other major works such as "Woyaya" (1972), "Heads" (1973), or the magnificent double live album "Black Magic Night; Live At The Royal Festival Hall" (1977).

Starcastle-Fountains of Light (1977)

The second album from this American band, often unfairly compared to the British band Yes, showcases a more polished and refined sound, along with a much more meticulous production, unlike their debut. The vocal harmonies, reminiscent of Jon Anderson's, the excellent bass lines, the driving organ and Moog synthesizer solos, and the brilliant interplay between the two guitarists result in melodic and catchy compositions delivered through energetic arrangements. The orchestral guitar and keyboard combinations during the symphonic passages sometimes evoke the sound of their compatriots Kansas, but with a more commercial edge, leaning towards AOR. Songs like "Fountains", "Dawning of the Day", "True to the Light", and "Diamond Song (Deep is the Light)", reflect these characteristics, while the bucolic "Portraits" highlights the band's folk-rock side. In short, this second album is an excellent continuation of their enormous debut album, which kept Starcastle among the leading progressive rock bands of the late 70s.

Peter Frampton-Frampton Comes Alive! II (1995)

Nineteen years after the multi-platinum "Frampton Comes Alive!" (1976), Peter Frampton released his second live album, a clear sequel to that historic event, and, fittingly, titled "Frampton Comes Alive II". In those nearly 20 years, Peter Frampton had released seven albums, from the successful "I'm In You" to his latest release, "Peter Frampton", which came out a year before this live album. Recorded almost entirely at the Fillmore in San Francisco, Frampton was joined by his longtime collaborator Bob Mayo on keyboards and vocals, as well as John Regan on bass and J.R. Robinson on drums. For the setlist, the blond guitarist opted to steer clear of the original album's greatest hits, including only material from his later albums. However, a subsequent reissue did include several tracks such as "Show Me The Way", "Lines On My Face", and "Do You Feel Like We Do". While it's true that his music has shifted towards a melodic rock and soft rock style, losing the raw power of the 70s sound, the spirit of that era remains very much alive thanks to his obvious skill with the six strings and his muscular, melodic style. Tracks as captivating as "Day in the Sun", "Most of All", "Hang On To a Dream", and "Can't Take That Away", clearly demonstrate that "Frampton Comes Alive II" is a sequel almost as entertaining as its original work, showcasing the great abilities of this legendary guitarist upon which he built a solid and successful career.

V.S.O.P.-Tempest in The Colosseum (1977)

"Tempest in the Colosseum" is a landmark jazz recording by one of the most legendary groups in the genre's history: V.S.O.P., named after a high-quality cognac brandy. This iconic lineup consisted of Herbie Hancock (piano and synthesizers), Wayne Shorter (tenor and soprano saxophones), Ron Carter (bass), Tony Williams (drums), and Freddie Hubbard (trumpet), all former members of Miles Davis's band. This all-star ensemble was primarily a live band, releasing a series of live albums: "The Quintet" (1977), "Tempest in the Colosseum" (1977), and "Live Under the Sky" (1979), as well as one studio album, "Five Stars" (1979). Recorded on July 23, 1977 at the Tokyo Den-En Coliseum, it showcases the excellence of five talented musicians as demonstrated in a repertoire full of jazz emotion, with the enviable instrumental technique of each musician, producing a dense, complex jazz rich in hundreds of nuances, but which at the same time has an amazing accessibility both for connoisseurs of the jazz genre, and for the general public.

Aerosmith-Draw The Line (1977)

Amidst strained relationships within the band due to drug use, Aerosmith released the last great album of their early period. While it lacked the power, swagger, and brilliance of their earlier work, it still possessed considerable quality. Recorded in an old New York convent that was converted for the recording sessions between June and October of 1977, it was produced by Jack Douglas, who had also helmed the previous albums. Highlights of this fifth album include the playful rock and roll title track, the boogie-rock anthem "Critical Mass", the powerful "Get It Up", the heavy hard rock track "Kings and Queens", and the boogie-blues number "Milk Cow Blues". Although it didn't achieve the commercial success of its predecessor, "Rocks", "Draw the Line", reached a respectable number eleven on the Billboard charts and earned several platinum records for its sales in the North American market.

Ash Ra Tempel-Ash Ra Tempel (1971)

The debut album from German band Ash Ra Tempel is a true classic of space rock and krautrock, driven by the exhilarating and experimental onslaught of guitarist Manuel Gottsching and the raw percussion of a very young Klaus Schulze. This first album has a unique, divided personality, featuring two extensive and very different tracks, from the epic opening 20 minutes of "Amboss" to the soaring and serene "Traummaschine". However, both seem to stem from the same cosmic journey that permeates the album's mysticism. "Amboss" is a heavy, acid-tinged space voyage that draws the listener in with a heavy dose of energy, replete with bursts of energy, frenetic guitar sounds, and frenetic percussion accompanied by electronic elements. In contrast to this is "Traummaschine", based on a profoundly spatial climax, with many eerie moments, clearly in tune with the electronic meditation that transports us, with moments of very relaxing calm, to another sonic dimension. For many, this work is the quintessential Krautrock, even though other legendary works from many top-tier German bands arrived in the following years, but none surpass this superb debut from the mythical Ash Ra Tempel in experimentation and originality.